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PAM在线 x 蒋方舟 | 北宋《结莲社集》& 南宋《宋书》,周小英题跋

PAM 明珠美术馆PAM 2023-06-28
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从“风景与书”的故事开始,敬请关注


明珠美术馆邀请知名青年作家蒋方舟,为我们讲述“风景与书”的故事。

明珠美术馆“风景与书”展厅现场


北宋《结莲社集》
省常(编)、周小英(题跋)

 

听蒋方舟讲述

此次在“风景与书:明珠美术馆两周年庆典展”限时展出的《结莲社集》,是现存最早的北宋孤本诗文集。此书是除佛典外,目前存世最早的北宋刻本,也是最早的诗文集刻本,具有极其珍贵的文献价值和版本价值,对中国印刷史、书籍史、版刻史及造纸史的研究亦具重要意义。此书自南宋以后中土失传,近年来从韩国回流,沉寂千年后国宝重光、重典再现,不啻为书林一大佳话。


《结莲社集》展出现场,省常(编),左侧为周小英另纸题跋

北宋,杭州西湖昭庆寺刻本,纸本水墨

29.9× 18.4 cm


东晋禅僧慧远曾在庐山东林寺挖掘一方池塘种植白莲,与同道友人创立了莲社。五百年后的北宋,杭州昭庆寺僧省常仿效慧远高举,创西湖莲社,此为目前可考知的宋代最早诗社,参与者公卿百余,所作诗篇于大中祥符二年(1009)编为《结莲社集》,刊刻当在此后不久。


左为《结莲社集》封面,右为内页序言

 

《结莲社集》颜柳合璧的精美字体极有特点,也是断定年代的重要依据。卷首钱易所撰《钱塘西湖昭庆寺结净社集总序》为柳公权书《玄秘塔碑》字体,正文为颜真卿书《麻姑仙坛记》字体,风格面貌与南宋浙刻稍有不同。北宋刻本存世稀少,大多为官方刻书,采用刚劲的欧体字。《结莲社集》则为我们树立了一个北宋早期民间刻本的标杆,也为进一步探讨两宋时期雕版印刷史的相关问题,提供了极为重要的线索。


《结莲社集》内页,左为颜体正文,右为柳体总序


周小英题跋
 
范景中跋文由周小英书写,称此书“真国之重宝也”“气压邺侯三万轴”。其文虽为浅文言,笔调则亲切活泼,追述版本鉴定故事,娓娓道来。此书向被视为韩国刻本,几位专家反复审视过往结论,根据经验,结合实物版本特征,终于拨开迷雾,使它重放光明。学者们的名字,从此将要和这部书的故事一起流传下去,既可感慨,又足以振奋人心。

周小英所书《结莲社集》题跋


周小英题跋录文


此北宋本,真国之重宝也。异邦秘传,今见回归,曷胜眼福。其中插曲不能不记。犹忆二零一五年在京疗疾之余,丁君德朝持示此册。一展卷即暗暗震惊,待翻至书尾,德朝亟问:此书何如?余曰:绝品也。心知此为百年难遇之本,竟不知如何品论。回沪未几,接先行兄电话问此事,余答曰:宋板无疑。先行兄大喜,推余为知音,并邀参加讨论会。

 

一月后,讨论会在京举行。由余主持,先行兄持论最精碻,沈乃文先生又以卷前被擦抹之印乃“经筵”二字,更增人信服。据云此书被视为韩国刻本,在京津辗转多年,只沈乃文、周心慧几位,力主宋板,而乏人响应,故最终为此书发覆者,寔乃吾等三数人之力。此书林一大掌故,故写之卷尾。至于其文献价值,补茜全宋诗近百首,则金君程宇考索之功也。己亥八月范景中识。

 

此书终归枫江书屋,购书当日,外子曾言此书气压邺侯三万轴。己亥秋月古杭周小英记于沪上。


《结莲社集》内页

范景中谈北宋《结莲社集》

 

可以说这部《结莲社集》是此次“风景与书”展览中最重要的一件作品之一,而且不光是在此次展览中,它在中国书籍里也是极其重要的一件,是一件无价的珍宝。这部书的重要性体现在多方面:一是它对研究宋代诗社有重要价值,北宋时期最早结成的诗社就是莲社,《结莲社集》即是当年结社的诗文集,共存诗九十二首,其中九十一首诗现在的《全宋诗》里是没有的,对补全《全宋诗》有非常重要的价值;二是对于当时人们的信仰研究具有重要的文献价值,书中诗歌的作者有九十余人,上自宰相,下至学生,涉及范围极广;更重要的是,这部书在书籍史上有很重要的参考价值,尤其是对我们现在认识北宋版书籍而言。

 

我们谈宋版书的时候,不包括佛经,因为佛经唐代就刊刻了,只按照传统的经史子集来说,这其中北宋版的书非常少,少到可能全世界加起来都不会超过二十本,太少了!北宋版书籍在日本大概收藏有十种左右,在中国大陆的收藏不会超过五部,能够确证就是北宋版的,大概也就两三部,《结莲社集》是其中最可靠的一部。这部书的题跋里有一句“气压邺侯三万轴”,就是说这一部书顶三万部书,甚至顶三十万部书,它的价值非常高。


《结莲社集》内页


《结莲社集》刊刻的艺术水平也改变了我们对杭州刻本的观念。北宋时期有四川蜀刻、福建闽刻、杭州杭刻三个重要的书籍刊刻地。当时皇家的最高学府国子监凡刻书都把书稿发到杭州刊刻,所以杭州是中国书籍史上高峰的代表。这部书是用柳体刻的序,颜体刻的正文,我们可以看到杭州当时刊刻的水平,以及书法怎样在刻书当中发挥作用。


《结莲社集》首页“经筵”印


大家也许会问,《结莲社集》是怎么确凿地被鉴定为北宋本的?除了看书的纸张、刻的书体、跟当时其他文物比较之外,这部书中有一个非常重要的印记,在它的第一页有一方印。这方印被擦掉了,看不清印文,但是我们通过电脑将其还原,发现印刻的是“经筵”两字。日本藏的北宋版书有五部都有“经筵”印记。这要追溯到明万历年间的壬辰动乱,日本攻打朝鲜,中国派兵支援朝鲜,日本战败却抢走了朝鲜的印刷机、铜活字、宋版书等等。而朝鲜之前与北宋往来密切,尤其喜欢杭州刻本。此书可能当时流转到朝鲜,却不知是未被日本人带走,还是带走又流落出来。历史扑朔迷离,总之现在有“经筵”印的北宋版书,《结莲社集》是第六种,因此它牢牢地被锁定了。此书的文献价值、在书籍史上的艺术价值、在杭州印刷史上的价值,都排在第一位,极其重要。

 

(节选自2020年1月18日范景中教授于明珠美术馆·心厅举办的“风景与书”展览开幕讲座)


《结莲社集》展出现场


Jie Lianshe Ji

(Collection of Poems and Essays Dedicated to the Foundation of Lotus Society at West Lake in Hangzhou)

Edited by Xingchang, postscript by Zhou Xiaoying

 

English version

The exhibit is a very rare woodblock print in the Northern Song Dynasty and of course the only surviving copy. The editor of the book, the monk Xingchang in Zhaoqing Temple in Hangzhou imitated Huiyuanin Eastern Jin Dynasty who founded a society and established the White Lotus Society at West Lake. Hundreds of officials and intellectuals joined the society whose poems were compiled in the 2nd year of Dazhongxiangfu (1009) and printed as the displayed book later. It was long considered as a Korean print since it was preserved there and the binding was also largely changed. Its origin had always been neglected before sometime before its auction in China in 2015. Scholars took a careful look at it and deduced that it might have been printed in Hangzhou during Northern Song.


Jie Lianshe Ji (Collection of Poems and Essays Dedicated to the Foundation of Lotus Society at West Lake in Hangzhou), edited by Xingchang, postscript by Zhou Xiaoying
Northern Song Dynasty
Woodblock print of Zhaoqing Temple of West Lake in Hangzhou
Ink on paper
29.9 × 18.4 cm

The character “Jing” was written in a taboo form by omitting some stroke. The main matter was printed in a font of Yan Zhenqing’s style while the forewords were in a font of Liu Gongquan’s style. Some book catalog in Southern Song recorded the same title. The word wrapping style in the book could be very close to the draft. The paper was assured to be made in Song. There is no fishtails in the spread heart. All the above could prove that the book is an early print. It might have been brought to Korea soon after its publication and affected the printing style there as well as the custom to form societies among intellectuals.
 
The postscript, composed by Fan Jingzhong and written by Zhou Xiaoying, vividly narrates the story of appraising the book, which had been considered as a Korean print for a long time. However, several experts took a careful look at the book and doubted the long-accepted conclusion. It is by their careful study and convincing argument that we realize the real history of the book which started in China.


北宋《结莲社集》对公众展出一日后,代以南宋眉山七史刻本《宋书》残叶,亦是宋代书籍刊刻精品。

《宋书》残叶展出现场,沈约(撰),左侧为周小英另纸题跋


南宋《宋书》

沈约(撰)、周小英(题跋)

 

此为眉山七史版《宋书》残叶,半叶九行,行十八字,白口,黑鱼尾,版心下方记刻工姓名,边框虽略为磨损,墨色浓淡亦不一致,然字口尚多清晰。眉山七史版片历宋元明三代,迭有修补,后印者字迹漫漶,人称“九行邋遢本”。此叶则全无“邋遢”面貌,故而可贵。


《宋书》,沈约(撰),周小英(题跋)
南宋,眉山七史刻本,纸本水墨
31.7 x 40.3 cm


周小英跋引王国维、傅增湘两位学者论述,据史实及版本实物,指出七史或在杭州锓版,未必为蜀刻。惜其版片历经三朝,极为复杂,只可推断,已难证实。


周小英为《宋书》所书题跋


周小英题跋录文


此板向称眉山七史本,历经劫火,板片于嘉靖十年前后编入南京国子监二十一史,观堂先生阅书起疑,遂在《传书堂藏善本书志》“宋书”条下引《玉海》语,“绍兴九年九月七日诏下诸郡,索国子监元颁善本校勘镂版”,以证所谓眉山七史实乃江南刊本,因刻工多在杭州傅增湘跋宋本《南齐书》,亦云七史世称眉山本,而开版寔出杭州。此本卷后附嘉佑六年崇文院行杭州开板牒文,可为确证南渡后,杭州又为之覆刻。然此七史传世多为三朝本,修补之版宋元明皆有,理清不易。此叶刷印清朗,殊少断痕,板心记刻工高谅,活动于宋元之际,殆亦印于其时,故绝胜三朝本也。


“风景与书”展览现场
       

Book of Song (of the Southern Dynasties)

written by Shen Yue, postscript by Zhou Xiaoying

 

The exhibit is a surviving leaf from the Meishan edition of Book of Song. Although the border is a bit worn out and the ink density is also not so uniform, most characters have clear edges. The blocks of the Meishan edition were mended many times and the late prints became quite unclear which were called “sloppy prints of nine lines”. However, the exhibit is really precious since it is not “sloppy” at all.


Book of Song (of the Southern Dynasties), written by Shen Yue, postscript by Zhou Xiaoying
Southern Song Dynasty
Woodblock print of the Seven Histories of Meishan edition
Ink on paper
31.7 x 40.3 cm


Zhou Xiaoying refers to the arguments by Wang Guowei and Fu Zengxiang based on history and the blocks themselves and points out that the Meishan edition might have been engraved in Hangzhou instead of Meishan as believed. Nonetheless, since the blocks were handed down across three Dynasties, it is very difficult to confirm the hypothesis.





PAM在线|“风景与书”作品赏析,将持续推出以下内容,敬请期待:

 

01清川阿莎美“我们的故事”系列
02徐冰《背后的故事:溪山风雨图》
03徐冰《芥子园山水卷》
04徐冰《天书》,周小英题跋
05北宋《结莲社集》& 南宋《宋书》,周小英题跋
06明崇祯《吴骚合编》;明初《朱高煦拟古十九首》,周小英题跋
07清乾隆《冬心先生画竹题记》,周小英题跋
08明万历《马湘兰致王百穀手札卷》;珂罗版《马湘兰信札》,周小英题跋
09清嘉庆《柳如是像》,周小英题跋
10晚清《柳如是遗集》,周小英题跋
11民国《薛素素小像》,周小英题跋
12民国《寇白门小像》,周小英题跋
13张充和《集古梅花诗》,周小英题跋
14《勘书图》,邵仄炯、蒙中、王素柳(画),周小英题跋




关于明珠美术馆
明珠美术馆(Pearl Art Museum)是一座面向21世纪的美术馆,由上海新华发行集团与红星美凯龙家居集团合作创建,旨在“以艺术点亮生活”,通过“全链接”的工作方式,汇聚全球一流艺术与创意资源,以打造“无墙的美术馆”与“流动的艺术学院”为理想,用艺术与文化为城市赋能。

关于PAM在线
明珠美术馆已全面启动“PAM在线|”品牌项目建设,自2020年2月2日起每天更新分享高质量有生趣的新媒体文艺内容,始终以创建“无墙的美术馆、流动的艺术学院”为理想,力争在抗击疫情的特殊时期发挥其独特的文化艺术与公益力量。


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